Same Ol’ Oscar

The 92nd Oscar nominations were reliably predictable.  No, this year’s list of honorees cannot rightly be categorized as #OscarsSoWhiteStraightMale.  But neither could the group even vaguely be considered #OscarsSoColorful, #OscarsSoInclusive or even #OscarsSoPurelyArtistic.

It does seem a bit quaint to even be discussing what Hollywood (Note: Whoever or whatever that is) deems deserving of its annual golden statuette when the world is falling apart around us but perhaps that’s the very reason to spend a bit of time on it.  We all need a diversion or two, or twenty-three, and well, every year the Motion Picture Academy never fails to both come through AND simultaneously disappoint.

The Academy always comes through…

That said, it was interesting to see just how aware the Academy was of just how white the awards had the potential to be.  You could tell by their choice of not one but two people of color – Issa Rae and John Cho – to announce the nominees to an international audience.  That’s twice as many non-White people that were nominated in all four acting categories combined!

It’s a sad state that Green Book was more diverse

Meaning, Cynthia Erivo was the sole person of color to be singled out in an acting category this year for her lead performance as famed abolitionist Harriet Tubman in the fine historical drama, Harriet.  Does it count for diversity that Antonio Banderas was also nominated for his lead role in Pedro Almodovar’s brilliant semi-autobiographical pic Pain and Glory? That’s for social media to decide so you’re on your own there.

Leading the list of this year’s nominated films with ELEVEN nods was…Joker? Well, the title of that film alone says everything you need to know about the times we live in.  Close behind were: The Irishman and 1917 and Once Upon A Time in…Hollywood with ten each.

More like a TEN (but really, this did factor in right?)

The aforementioned Ms. Erivo was also one of a handful of recipients to receive two Oscar nominations in two separate categories this year.  Her second was as co-writer in the best song category for Harriet’s “Stand Up.”  Also double nominated were: Scarlett Johansson as both lead actress and supporting actress for Marriage Story and JoJo Rabbit, respectively; and David Heyman as a producer on two potential best picture winners, Marriage Story AND Once Upon A Time in…Hollywood.

Here is a full list of the nominations along with some (accurate? snide? bitchy?) opinions on those chosen and those left out of the major categories.  Let’s save the rest for when the awards are handed out on Feb. 9th.   In the meantime, get your Joker masks ready, the next four weeks promise to be….memorable?

My mantra to get through these nominations

BEST PICTURE

FORD V FERRARI  Peter Chernin, Jenno Topping and James Mangold, Producers

THE IRISHMAN  Martin Scorsese, Robert De Niro, Jane Rosenthal and Emma Tillinger Koskoff, Producers

JOJO RABBIT  Carthew Neal and Taika Waititi, Producers

JOKER  Todd Phillips, Bradley Cooper and Emma Tillinger Koskoff, Producers

LITTLE WOMEN  Amy Pascal, Producer

MARRIAGE STORY  Noah Baumbach and David Heyman, Producers

1917  Sam Mendes, Pippa Harris, Jayne-Ann Tenggren and Callum McDougall, Producers

ONCE UPON A TIME…IN HOLLYWOOD  David Heyman, Shannon McIntosh and Quentin Tarantino, Producers

PARASITE  Kwak Sin Ae and Bong Joon Ho, Producers

The question is, what DIDN’T get nominated?  Pretty much all the films predicted to get a nod in this category managed to squeak through.  The possible exception was Knives Out, which nevertheless received what more and more seems to be the consolation prize of a writing nomination, in this case for its director Rian Johnson.

Still gets top honors for best knit!

What else MIGHT have been nominated in this category even though you’d be crazy to expect it?   Well, the indie movie The Last Black Man in San Francisco should not have to rely solely on the Independent Spirit Awards to be named among the best films of the year when it is clearly that and more.   But don’t get me started on the #OscarsSo……. Again.

DIRECTING

THE IRISHMAN  Martin Scorsese

JOKER  Todd Phillips

1917  Sam Mendes

ONCE UPON A TIME…IN HOLLYWOOD  Quentin Tarantino

PARASITE  Bong Joon Ho

Here’s the thing.  Greta Gerwig, Little Women, Lulu Wang, The Farewell, Marielle Heller, A Beautiful Day in the Neighborhood, Alma Har’el, Honeyboy and Kasi Lemons, Harriet.  When you have five women who directed the aforementioned Oscar caliber films and not one gets nominated in this category, well, this is why people begin to talk.

We riot at dawn #burnitdown #justiceforGreta

Though whenever this subject comes up I point to the SOLE FEMALE to WIN best director, Kathryn Bigelow.  She got the award for her work on The Hurt Locker, a war movie with a male protagonist.  What this tells us, aside from the fact that Bigelow is a great director, is that the subject matter of a movie has as much to do with the gender of a director where the Oscar nominees (and winners) are concerned.

Anyone hungry? #sausagefest

ACTOR IN A LEADING ROLE

ANTONIO BANDERAS   Pain and Glory

LEONARDO DiCAPRIO  Once upon a Time…in Hollywood

ADAM DRIVER  Marriage Story

JOAQUIN PHOENIX  Joker

JONATHAN PRYCE  The Two Popes

There are those who might rightly be grousing that the performances of Taron Egerton in Rocketman and Robert DeNiro in The Irishman should have gotten a nod.  But truly the best performance of the year NOT in this category was in Uncut Gems.  Adam Sandler did the best acting of his career as a Jewish, compulsive gambler jeweler who can’t get out of his own way in an unrelenting and uncomfortably riveting film.  Does he deserve the Oscar for it?  Yes.  Do I care if you disagree?  No, cause it’s true.

Get ready for Grown Ups 3 #sigh

ACTOR IN A SUPPORTING ROLE

TOM HANKS  A Beautiful Day in the Neighborhood

ANTHONY HOPKINS  The Two Popes

AL PACINO  The Irishman

JOE PESCI  The Irishman

BRAD PITT  Once upon a Time…in Hollywood

Brad Pitt is really the only one who matters here…for so many reasons.  Least of which is that Mr. Pitt is the sole person in this category NEVER to have won an acting Oscar.

This category is so 90s, you have to watch all the nominees on VHS

ACTRESS IN A LEADING ROLE

 CYNTHIA ERIVO  Harriet

SCARLETT JOHANSSON  Marriage Story

SAOIRSE RONAN  Little Women

CHARLIZE THERON  Bombshell

RENÉE ZELLWEGER  Judy

Yeah, it was between Cynthia Erivo and Awkwafina (The Farewell) for the female of color slot and Cynthia won.  Just kidding, sort of, but not…really.  However, it won’t matter.  Renee Zellweger’s daring recreation of Judy Garland at the end of her life, singing and all, will win and should win.

Although Charlize wins for inspiring the most gasps (and nightmares)

ACTRESS IN A SUPPORTING ROLE

KATHY BATES  Richard Jewell

LAURA DERN  Marriage Story

SCARLETT JOHANSSON  Jojo Rabbit

FLORENCE PUGH  Little Women

MARGOT ROBBIE  Bombshell

Did you really think J Lo would be nominated for doing her Oscar pole dance in Hustlers?  Really?  No, I mean…really???  Really????????

MAYBE WE DID CHAIRY?!?!

WRITING (ADAPTED SCREENPLAY)

THE IRISHMAN  Screenplay by Steven Zaillian

JOJO RABBIT  Screenplay by Taika Waititi

JOKER  Written by Todd Phillips & Scott Silver

LITTLE WOMEN  Written for the screen by Greta Gerwig

THE TWO POPES  Written by Anthony McCarten

 

WRITING (ORIGINAL SCREENPLAY)

KNIVES OUT  Written by Rian Johnson

MARRIAGE STORY  Written by Noah Baumbach

1917  Written by Sam Mendes & Krysty Wilson-Cairns

ONCE UPON A TIME…IN HOLLYWOOD  Written by Quentin Tarantino

PARASITE  Screenplay by Bong Joon Ho, Han Jin Won; Story by Bong Joon Ho

You could have read three or four articles predicting the screenplay nominations and scored close to 100% in both of these categories.  But for my money, the big omission is Booksmart, a coming of age/last night of high school story chock full of memorable characters in hilariously awkward situations you felt you had both seen and never seen before.  So imaginative, heartfelt, funny and extremely difficult to achieve that it took four writers – Emily Halpern, Sarah Haskins, Susanna Fogel and Katie Silberman.  Of course the fact that they’re four women writing a female driven narrative had NOTHING to do with the snub!

What does the Oscars have against girls and poles?

Not to downgrade the rest, but I got up at 5:15 am for this!  So, here they are without comment:

 

ANIMATED FEATURE FILM

HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD 

I LOST MY BODY 

KLAUS 

MISSING LINK 

TOY STORY 4 

 

CINEMATOGRAPHY

THE IRISHMAN  Rodrigo Prieto

JOKER  Lawrence Sher

THE LIGHTHOUSE  Jarin Blaschke

1917  Roger Deakins

ONCE UPON A TIME…IN HOLLYWOOD  Robert Richardson

 

COSTUME DESIGN 

THE IRISHMAN  Sandy Powell and Christopher Peterson

JOJO RABBIT  Mayes C. Rubeo

JOKER  Mark Bridges

LITTLE WOMEN  Jacqueline Durran

ONCE UPON A TIME…IN HOLLYWOOD  Arianne Phillips

 

DOCUMENTARY (FEATURE)

AMERICAN FACTORY 

THE CAVE 

THE EDGE OF DEMOCRACY 

 FOR SAMA 

HONEYLAND  

 

DOCUMENTARY (SHORT SUBJECT)

 IN THE ABSENCE 

LEARNING TO SKATEBOARD IN A WARZONE (IF YOU’RE A GIRL) 

LIFE OVERTAKES ME

ST. LOUIS SUPERMAN

WALK RUN CHA-CHA 

 

FILM EDITING

FORD V FERRARI  Michael McCusker and Andrew Buckland

THE IRISHMAN  Thelma Schoonmaker

JOJO RABBIT  Tom Eagles

JOKER  Jeff Groth

PARASITE  Yang Jinmo

 

INTERNATIONAL FEATURE FILM

CORPUS CHRISTI  Poland

HONEYLAND  North Macedonia

LES MISÉRABLES  France

PAIN AND GLORY  Spain

PARASITE  South Korea

 

MAKEUP AND HAIRSTYLING

BOMBSHELL  

JOKER 

JUDY 

MALEFICENT: MISTRESS OF EVIL 

1917 

 

MUSIC (ORIGINAL SCORE)

JOKER  Hildur Guðnadóttir

LITTLE WOMEN  Alexandre Desplat

MARRIAGE STORY  Randy Newman

1917  Thomas Newman

STAR WARS: THE RISE OF SKYWALKER  John Williams

 

MUSIC (ORIGINAL SONG)

I CAN’T LET YOU THROW YOURSELF AWAY  from Toy Story 4; Music and Lyric by Randy Newman

(I’M GONNA) LOVE ME AGAIN  from Rocketman; Music by Elton John; Lyric by Bernie Taupin

I’M STANDING WITH YOU  from Breakthrough; Music and Lyric by Diane Warren

INTO THE UNKNOWN  from Frozen II; Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

STAND UP  from Harriet; Music and Lyric by Joshuah Brian Campbell and Cynthia Erivo

 

PRODUCTION DESIGN

THE IRISHMAN 

JOJO RABBIT 

1917  

ONCE UPON A TIME…IN HOLLYWOOD 

PARASITE 

 

SHORT FILM (ANIMATED)

DCERA (DAUGHTER) 

HAIR LOVE 

KITBULL 

MEMORABLE 

SISTER 

 

SHORT FILM (LIVE ACTION)

BROTHERHOOD 

NEFTA FOOTBALL CLUB 

THE NEIGHBORS’ WINDOW 

SARIA 

A SISTER 

 

SOUND EDITING

FORD V FERRARI 

JOKER 

1917 

ONCE UPON A TIME…IN HOLLYWOOD 

STAR WARS: THE RISE OF SKYWALKER 

 

SOUND MIXING

AD ASTRA 

FORD V FERRARI 

JOKER  

1917 

ONCE UPON A TIME…IN HOLLYWOOD 

 

VISUAL EFFECTS

AVENGERS: ENDGAME 

THE IRISHMAN 

THE LION KING 

STAR WARS: THE RISE OF SKYWALKER 

The Rolling Stones – “You Can’t Always Get What You Want”

Our Not So Golden Globe

Each year the Hollywood Foreign Press ushers in a star-studded season honoring excellence in film and TV with the Golden Globe Awards.

It’s a televised party in Beverly Hills where celebs and film/TV makers drink, eat and try to make merry in the very tight quarters of an overstuffed hotel ballroom.

Think your rich Aunt Mildred’s chance for the over-the-top second wedding she never had or the bar mitzvah reception for the son of some tech giant classmate of yours who bought Apple stock early and married late that you only managed to get on the list for because you ran into him at the airport while trying to hide the fact you were flying coach.

and as a bonus – this guy harasses you on the way in!

Of course, that doesn’t quite do it justice.

The Golden Globes are often the most entertaining of all old show biz awards shows because for some god forsaken reason they consistently get almost every major star in the industry to show up and give or get one of those quite surprisingly small mini-replicas of our great golden earth.

Although, I am glad that they got rid of that ugly marble podium

Though even that was tricky this year because nothing about our earth or the product produced during this time period seems to represent anything particularly golden, at least not in the traditional sense.

No, in real life we citizens of the world are holding our collective breaths about the possibility of real global warfare between the United States and Iran.  Or we are obsessing yet doing very little about climate change as this weekend we watched large swaths of the real Australian sky burn an ominous blood red thanks to over 146 (and counting) environmentally induced brush fires.

Don’t worry, I’ll recycle the empties

Neither the evening nor few of the nominated and/or winning films provided much release from those catastrophic doldrums either.  For instance, I very much enjoyed Quentin Tarantino’s Once Upon A Time in…Hollywood and its meticulous recreation of a 1969 Los Angeles.   But its win as best comedy/musical, director, screenplay and supporting actor still can’t help but remind us all of one of the most grisly crimes of our 20th century, the Tate-LaBianca murders; that is even as it tries to rewrite that history to give its victims (and us) our much more well-deserved (well, preferred) Hollywood ending.

Are you sure this didn’t clinch it?

The best drama and director award for Sam Mendes’ 1917 forced us to look back in terrifying detail at a fictionalized version of fact-based events in and around the battlefields of WWI.   While extremely well made, this also doesn’t so much as provide hope for humanity but hold a magnifying glass up to ALL the battlefields of our past and, inevitably, remind us of all those likely to come in our future.

On the television side, a miniseries win for yet another recreation of the catastrophic – the nuclear disaster of Chernobyl – brilliantly reminded even the most casual of viewers that another nuclear winter could even today be just one ignored safety regulation away. Not to mention that the recognition of Succession as best TV drama brought home every cynically snowflake propaganda worry we all ever had about Fox News and the Murdoch family through its fictional, though albeit much more entertainingly awful doppelgängers, the Roys.

He did! He did!

There were some small breaths of encouragement. Taron Edgerton and Renee Zellweger won best acting awards for personifying the real-life, stage and singing facsimiles of Elton John and Judy Garland as they rose to fame, slid into addiction and, well at least in one case, managed to survive.

Phoebe Waller-Bridge and her Fleabag season 2 gave some glamour and sympathy for those of us consistently making the wrong yet most human of choices even if it didn’t give us our full Hollywood happy Tarantino finale.  But perhaps that’s a clue to its popularity.  It doesn’t sugar coat our mistakes yet still shines some teeny tiny minuscule glint of light into all of our hopelessly aberrant collective futures.

Added bonus: Hot Priest!

Such was not the case with Globes’ host Ricky Gervais for most of the evening.  His shtick about being the worst possible choice to lead the festivities proved incredibly prescient given the world events of the preceding week and the jokes he chose to perform.

He opened by touting the Globes’ decision to this year serve an all-vegetarian menu but then chided its members for being, ahem, vegetables.  He attempted a timely jab at director Martin Scorsese for recently stating superhero movies were not cinema but more like amusement park rides he had no interest in and then cracked at the irony of the director’s statement because Scorsese was too short to actually meet the height requirement to ride in one. (Note: Har, Har?)

Me, during the opening monologue

Joaquin Phoenix, who won a Globe for playing the nihilistic title role in Joker, did try to be real and modest and world-aware.  Yet he managed to end his speech by saying it wasn’t enough to simply urge the Globes’ worldwide audience to “vote” their issues at the ballot box or voice concern about Australian climate change the way that others who came before him onstage had done. No, what he proclaimed from the podium was that what each one of the affluent in that room should do was to pledge to stop flying private jets to Palm Springs!  

Do not come for my Palm Springs trips!

Well, you gotta start somewhere, right?  And no, I am not paraphrasing.

Yes, of course, there were lovely moments.  Michelle Williams’ win for playing Broadway legend Gwen Verdon in Fosse/Verdon urging women to use their voices and votes to make the reality of the country better reflect its 51% female population.  Kate McKinnon’s tearful tribute to Ellen DeGeneres as the role model of what could be possible for her young lesbian self.  Tom Hanks on the true wonder of being a working actor who is nothing more than a small part of a larger team who must deliver in that moment to make each shot or the scene any good at all.

Everybody loves Hanks

Still, at the end of the evening one couldn’t help but think that our en masse feelings about the Globes/Globe, both in the ballroom and for those watching at home, were best captured by Mr. Gervais’ in his not very encouraging but thankfully closing line of the night to us:

Get drunk, take your drugs, f-k off.

This being a Hollywood production, needless to say that very last phrase was bleeped.

Complete list of the 2020 Golden Globe Winners

Sam Smith ft. Renee Zellwegger – “Get Happy” 

Now Playing: MEH

A friend of mine recently posted about being disappointed in the current crop of movies and pondered whether his expectations were simply too high.

I thought:

I used to feel this way about people until years of therapy educated me to the fact that since you can’t expect anyone to behave in the absolutely perfect way you would in any given situation, well, you can’t quite fault them for it.

But art is something else and movies are really something more than that.

If you can’t depend on a chunk of the films in the last three months of the year to be really great, or at least really, really good, what hope is there for the future of the country/world?

Even my pessimism is working against me

Or to put it another way:

What else can THEY take away?

THEY get to fill the majority of movie screens most of the year with super heroes, escapist action and the mindless romps of cardboard characters that pass for humor.  Surely the little sliver left for us adults, or people of any age with some discernment or taste, would not go undisturbed.

Would it?

Oh Chairy, you make me laugh

Well, I quickly diagnosed the condition.  The U.S. film industry has entered a state of artistic global warming and it’s going to take generations of action to reduce the trend and it’s effect on the world.  That is, if it’s not too late already.

Of course, this makes sense.  We have for a while been the #2 polluting country worldwide, responsible for 15% of the planet’s greenhouse gases/carbon monoxide emissions (Note:  Only China bests us at 30%)  Not to mention,  we recently pulled out of the Paris Climate Accord.

So if the choice comes down to huge corporate profits vs. the safety of the planet, be it from pollutants in the air, sea or mind, um, there is only one choice.

Money TRUMPS everything. 

You know I loathe to use the word!!!

This is not to say we’re doing nothing about pollution or that there are no good films to see.  We do and there are.  Though it sort of reminds me of the quality of work I did when my divorced working Mom assigned me my daily household chores.

Never did I NOT get the job but not once, EVER, did I achieve anything spectacular as a final product.  The amount of sheer commitment, single-mindedness and self reflection on the importance of the request that in turn would produce the ultimate load of uber clean and perfectly folded bathroom towels to please Mom could not be further from my #1 priority.

Listen… it was hard work!!

What I wanted was to do it my way, get my allowance money and not have to deal with what was clearly unwarranted and unjustified negative feedback.  We made a deal and I more than fulfilled my end of the bargain.  In fact I did a damn great job of it given all the amount of commitments I had to juggle and guff I was up against as a latch key teenager.

To not to see it my way was clearly ignorance, an inability to truly understand the task at hand with the funds available to me and the overwhelming nature of the job I was tasked with.

Or, so I thought.

See:

It’s not that The Irishman isn’t interesting or well made.  It’s just that, well, it’s a bit of a slog.

I think I aged 20 years watching this

It’s not that Marriage Story doesn’t try.  It’s just that, given the many (Note: So Many) problems in today’s world, it ultimately comes off as superficial, self-important, over-praised and naval gazing. 

It’s not that Knives Out isn’t fun and has nothing to say.  It’s just that, well, it’s not nearly as great as the first two and a half minute trailer and that’s a problem in an almost two hour spoof of an/all Agatha Christie film. 

and a criminal underuse of miss jamie lee

It’s not that Parasite doesn’t have a cool point of view and doesn’t subvert our much too comfortable expectation of “cinema.” It’s just that, well, it’s screenplay is far from seamless and it requires us to accept way, way too much fantastical stuff for a non-genre film.

It’s not that Jo Jo Rabbit is not entertainingly fantastical and welcome-ingly strange.  It’s just that, well, when reinventing the comic Nazi archetype en masse one needs to be much, MUCH more clever and A LOT more specific (Note: See Inglorious Bastards).

It’s not that Hustlers doesn’t have a really and truly quite compelling pole dance by an age-defying Jennifer Lopez and literally countless seductively glossy film montages.  It’s just that, well… an anthem of feminism and/or female empowerment?  R-R-R-Really?  No……really?????

OK but… how many de-aging cameras are on her?

I could go on and if you catch me in person I’d be glad to.  You might not be interested or glad about it, though, and certainly I’d understand that.  After all, there is enough disappointment, bitterness and anger in our overly polluted world already.

The point is, really, where are today’s cinematic equivalents of:

Citizen Kane, Singing In the Rain, Giant, All About Eve, The Graduate, A Clockwork Orange, Rosemary’s Baby, All the President’s Men, E.T., Sophie’s Choice, Do the Right Thing, Working Girl, Boyz in the Hood, Schindler’s List, Mulholland Drive, Eternal Sunshine of the Spotless Mind, Moonlight and yes, La La Land??

You said it Chairy!!

They (whoever they are) say that we get the best art in the most difficult of times.  Judging from the movie art this year this means either the times are going to have to get a lot worse or filmmakers and the industry at large need to figure out a way to go from the satisfaction of good/really good/highly profitable to the exhilaration of great/risk it all fantastic/not trying to thread the needle of commerciality and art and thus achieving both incredible.

No pressure.  At least no more pressure than past generations of filmmakers and their needy, more than willing to go on a journey, audiences ever felt.

Hozier – “Take Me To Church”

Is The Irishman why we go to the movies?

After spending three and a half hours seeing Martin Scorsese’s The Irishman, financed by Netflix, at a screening at the Writer’s Guild Theatre in Beverly Hills, there are lots of thoughts and feelings to be sorted out.

None of these have to do with the future of film exhibition or whether Netflix is justified in its release pattern for the new Scorsese film.  For those who don’t know, that would be only eight theatres in NY and LA this week, followed by additional movie screens in more cities seven days later and, finally, its streaming debut just ten days after that (Nov. 27) for anyone with a Netflix subscription or the ability to hop on to someone else’s account.

Netflix is so needy #validation

Scorsese, who turns 77 years old on Nov. 17, is one of THE best American filmmakers of the 20th and 21st centuries, or any century.  Yeah, he’s publicly expressed his disinterest in superhero films and sounded the alarm bells about a money guzzling, tent-pole-driven, market-researched-to-death movie industry obsessed with the Marvel/DC Universe at the expense of cinema dealing with humans and the complexity and nuance of their emotions.

But, for the record, he’s right about that.  Most of us would tire of potato chips and chocolate bars if we ate them 75% of the time.  Even if we didn’t, think of the affect it would have not only on our bodies but our souls, assuming it already hasn’t.

Avengers: Age of Gluttony

Point being, Scorsese not only has a good argument about what passes for present-day cinema but has earned the right to grouse.  For Taxi Driver, Mean Streets, Raging Bull, Good Fellas, New York, New York, The Aviator, Casino and The Departed alone, he can opine from now until the end of time about what displeases him and/or makes him happy about any one group of films or the movie industry in general.

also thank you for this gif

Which makes one wonder if the same goes for his audience.  If you’ve been a Scorsese admirer and mostly loyal fan all these years, do you have the right to be disappointed in the latest entry into the master’s oeuvre that everyone else seems to be calling brilliant?

Well, of course you have the right.  This is still a free(ish) country.  But is it called for, or even worth it to bring up?

Yeah, it is.

Oh there’s more…

Movies by their very nature are a communal experience.  Sure, many of us now too often watch in the confines of our own homes, and too often do it alone.  But the cinema Scorsese makes and presents is shared with others in a dark room where it’s then debated and dissected afterwards.  It’s part of the gift he’s given us for over half a century and to ignore real life discussion of a new Scorsese film would be like negating the very existence of the artist himself.

So here’s the thing…

Is that Ray Romano?

The Irishman is extremely well made, brilliantly acted and doubtless couldn’t be directed better by anyone else on the planet.  But it’s as cold as a tray of ice cubes on a bleak winter’s day and about as revelatory and/or insightful.

Ouch, Chairy!

After 209 minutes it’s difficult to not wonder aloud, Why did I just spend all of this time watching this?  What did this film tell me that I didn’t already know?  In what way was I touched, repelled or even slightly moved by the lives of these “wise guys” and the people around them?  (Note: Not to mention, I already knew the Mob murdered Jimmy Hoffa!!!).

This is especially true if you’ve ever seen a mob film by Scorsese.  Or watched one in that genre by his friend and contemporary, Francis Ford Coppola.  Or even binge watched the HBO series The Sopranos.

Don’t drag me into this! #cuttoblack

It’s unfair to say that with The Irishman Scorsese has made his version of a sequel to a sequel of his latest superhero film.  The Irishman has many flaws (Note: Despite what the critics are saying), but once it reaches the three-hour mark it forges some new ground.  In its last half hour, one begins to realize why the director spent all of these years trying to make this story and why it is likely the final chapter of every mob story he has ever told.

You can trust the Chair

But suffice it to say that dark and foreboding as it might be, that third act ending doesn’t so much surprise as simply…play out.  It takes you down a road you didn’t expect to see onscreen but pretty much could have imagined would have happened exactly that way off screen.

Would you have imagined it, if left to your own devices?  The answer is probably not if you weren’t a contemporary of Scorsese.  So in that sense, it does play in to the director’s own definition of cinema and, in its way, far surpasses anything you will see in the latest Marvel/DC superhero film.   Which is not to say it is Scorsese, or even cinema, at its best.

God, he’s so rich

There are many different reasons why we go to the movies.  Though let’s qualify that to reflect a 2019 reality.  There are many different reasons why we watch movies.

Escape comes to mind.  File this under the category of general entertainment.  We want to laugh and forget or, if we are addicted to catharsis, we want (and need) to cry and commiserate.

I already know I’ll be a disaster during this movie

Perhaps we want to feel superior to a person or class of people being portrayed onscreen.  Taken one step further, we might even joyfully hate watch something we know will be hopelessly dumb, awful or not to our taste just because we can, especially if we’re the type that has no empathy for its own highly overpaid craftspeople boring us.  (Note: Rest assured the latter also includes ALL of its above-the-line talent [nee actors, producers, writers AND directors] despite what they might say or admit to in interviews.  Though this should never, ever include Scorsese or anyone of his caliber).

But mostly, many of us go to and/or watch movies simply because we are true blue fans, Scorsese or otherwise.

… and for the popcorn #arteriesclogging #delicious

We hope for the best, realize we may be disappointed and yet still are pleased that we saw it.  Some but not all of us in that category can usually find something to like in almost anything, even if it’s the good intentions of those who might have let us down.   (Note: See a few paragraphs above). More importantly, there is always a chance we will see something we like, perhaps even love, and be transported.

And for that experience, we will be grateful, perhaps forever grateful.

With so many other ways to spend our time these days there is still nothing quite like sitting in the dark (or semi-dark, or even light) and watching someone else’s idea of life unfold.  For a short time we get to feel something we might have never felt before, or in that particular way

I have a lot of feelings, OK?!?!

There are Scorsese films where we have that for a few fleeting moments, for numerous moments or, sometimes, all the way through.

You (okay, I) want The Irishman to be the latter even though the best you can say about it is that it’s in the former.  But like all great cinema, the movie and its director contain some moments where you feel as if you are in the presence of screen super heroes.

And that says something.  Actually, it says a lot.

Muddy Waters – “Mannish Boy” (from soundtrack for The Irishman)

 

Not Joking

I’ve decided to wait a bit to see Joker.

Not that you asked and not that I’m afraid to venture out to a movie theatre showing Joker on its opening weekend.

Oh, yes.  Apparently, there is reason to be afraid.

My students actually brought this to my attention, noting more than several sets of their parents called them this week to warn them of the perils of venturing out.  These were mothers and fathers who were truly afraid their college juniors and seniors could possibly be shot at in a public venue that dared to show a movie that addressed the evolution of a cartoon villain into a gun toting vigilante who wanted revenge.

America, 2019 #sad

But it never even occurred to me to be scared and I have fears about pretty much everything.

Not being a parent and never one to miss the opening weekend of a movie I was desperate to see (Note:  Yes, I did see Judy on opening night.  Please.) I thought of venturing out to Joker.  But it wasn’t the prospect of the ridiculous crowds that go hand in hand with those huge box-office projections that made me stay home.

Reserved seating ensures you don’t have to wait in line for a ticket and I was willing to take my chances in the off chance of a flesh and blood gunman given I survived the eighties.  But, well, the rat f-ck in the parking lot, the talking in the theatre during the film, the inevitable crying kid who shouldn’t be there or texting teens with neon-screened phones who have to be there– I mean, really, I can wait.

I’m fine with this

And anyway, Martin Scorsese says any film that’s part of the Marvel Universe isn’t real cinema so I doubt that he feels any differently about DC/Batman origins.

Honestly, the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being.” —  Martin Scorsese to Empire magazine this week.

Scorsese throws it down

If Scorsese is venting about high and low art we moviegoers are really in trouble.

Still, I get it, don’t you?  A steady diet of anything eventually makes it less special and inevitably, less than satisfying.  So how frustrating must it be for someone who is acknowledged as one of the best filmmakers of the century to watch the market for what he produces narrow further and further.

It’s the slow execution of everything he has given his life to.  The existential extinction of a widespread and very particular art form.

On the other hand, (and quite honestly) I can’t say I’m excited to see another Scorsese gangster movie, are you? Really excited?  I mean, are you really, really excited about the release of his latest three and a half hour long epic The Irishman early next month?  As excited as you were to see Goodfellas, Casino or even, say, The Departed?  Be honest.

I feel seen #truth

A superhero movie fan could argue a new gangster film from the director is the cinematic equivalent of a Scorsese theme park ride.   Others might, too.

This in no way lets the glut of Marvel/DC comic book movies off the hook.  Looking at what’s playing at what we used to refer to as real movie theatres at any given moment is a far, far cry from the last true golden age of cinema in the late sixties through the early to mid-seventies.

You know… before this #imissyoucarrie

The entertainment business has always revolved around making money, especially easy money.  So no one can blame movie studios, producers, directors, actors, et al for focusing on the broadest possible market with an emphasis on the key 18-24 year old demographic.

It’s said studios are most interested in a four-quadrant film, meaning the movie that will appeal to the widest swath of the population (Note:  What quadrant are you in?) but this is no longer the case.  It’s not even the case that whom they want to most appeal to are 18-24 year olds.

Most people when they go to a comic book movie #ifeelold

What is true is that superhero films accounted for more than 25% of total movie ticket sales last year, the equivalent of $11.38 billion.

Truth be told, this is a lot it is still far less than what we (okay I) might have imagined.  Until we realize, large as it is, it’s still a misleading statistic.  Those films might account for a quarter plus of releases but how wide of a release do the non-superhero movies get and how long do they really stick around?

In other words, 75% of the movies we have the option of going out to see might not have anything to do with Marvel or DC but if these films only play just one or two weeks in smaller, not easy to get to (or particularly desirable) theatres in not many cities, than what are the chances any of us will get to see them?  If a comic book hero is monopolizing 5 screens at an 8-screen multiplex do you want to brave the crowds on the weekend in order to see the latest indie offering starring Catherine Keener?  You might not even show up for a Jennifer Aniston rom-com or a Spike Lee joint.

Forget about the cost of a helmet or your bulletproof vest.

… and yet this is the film Catherine Keener did in 2018 #sigh

This is especially the case if you can wait a week or two and view them in the comfort of your large screened living room, which, in some cases, will offer images almost as large as the ones you might be treated to at one of the smaller multiplex screens that the non Marvel/DC movie you chose to attend would be relegated to.

It’s not an accident that Martin Scorsese’s The Irishman is backed by Netflix, which will make it available online three weeks after it debuts nationwide at what Steven Spielberg refers to as real movie theatres.

in unison: “you talking to me?”

Okay, I’m paraphrasing.

What he actually said is that Netflix films (and those from other streaming services) should not receive equal treatment at the Academy Awards and should be nominated for Emmys.  His belief is once you commit to the TV format you are a television movie and not a film.

But does his point of view extend to movies primarily backed or financed by Netflix and other similar platforms?  Or does Scorsese’s The Irishman get a pass because clearly HE makes cinema?

What IS 2019 cinema, anyway?   What is NOT 2019 cinema?

.. and what the hell is this??? #geminiman

As famed multiple Oscar winning screenwriter William Goldman once said of those of us in and around the film business, nobody knows anything.

And that, unlike most of what’s offered at your local multiplex, includes everyone.

The Late Ones – “The Joker” (cover of Steve Miller Band)

The Jewish Guido

Mazel!

Mazel!

If the guys I went to school with were movie characters they would be Jordan Belfort of Wolf of Wall Street and Irving Rosenfeld of American Hustle.  Two smart, charismatic and fast-talking Jewish guys from Queens, NY with morally questionable values, especially where money is concerned.  A stereotype, you say?  Uh, not when you consider how many Jewish male lead characters there have ever been in big major studio movies aside from Tevye in Fiddler on the Roof.  And besides — what major film studio heroes aren’t a bit, um…iconic.  In fact, those of us who are or could have been them prefer the word iconic.  Especially if it means – we’re the LEAD!

The truth is – you gotta start somewhere.

Martin Scorsese has spent half of his career immortalizing similar types of New York Italian guys in the movies but they are usually in the more tough talking form of Manhattan street thugs in Mean Streets, Taxi Driver, Raging Bull and Goodfellas – men who were certainly charismatic and street-wise but, on the whole, a lot tougher and muscular.  Plus, they could at least duck into Church for confession when things got dicey rather than eat themselves up from the inside out over anxiety.

Those kind of leading men tend to bleed into the aforementioned characters in our current crop of awards contenders.  Also, Joseph Gordon-Levitt’s wife-beater clad muscle head in Don Jon; Bradley Cooper’s co-lead detective Richie DiMaso in American Hustle; or even anti-hero Pat Solitano in last year’s Silver Linings Playbook.  Not to mention all the leads in The Godfather and Moonstruck.

There's gotta be an award out there for these curlers...

There’s gotta be an award out there for these curlers…

Which means if you put all the current Italian and Semitic boys from the boroughs together – which often happens in real life, not to mention in my own personal one – they comprise what I think of as a new ethnic stereotype I and my many childhood compadres from Queens have long awaited to be included on in film: The Jewish Guido.

(Note: See I can say that because I am one of them…well, sort of).

Who are we?  We are everything and more of what the major Hollywood studios think of as colorful and morally questionable.  No, we are not a Woody Allen character or Roberto Benigni from Life Is Beautiful.

Nope, not this Guido

Nope, not this Guido

We are a much more down and dirty, messy type of working/middle class person – a little crass, not afraid to speak our minds and, to put it bluntly: pretty good in bed – which is why we’re often a romantic lead who gets the girl at some point even if we can’t keep her.  You might not want to have us at a fancy dinner party or as your permanent spouse (Note: the latter is still in flux and debatable) but you most certainly want to include us if you aspire to learn how to rise up in the ranks of life or enjoy some unbridled, down and dirty fun.  In short, we have dreams and we’re not afraid to go for them in quite unorthodox and entertaining ways – even if there are overwhelming odds of failure or the likelihood that we will not have the best decorating sense once we achieve those dreams and have the cash to acquire whatever nouveau riche items you or we may crave.  Our reasoning:  if we don’t take that chance we’ll be stuck in Queens forever and, as we all know, with the right amount of money we can hire all the Waspy female decorators we want with taste and eventually charm them into at least having an affair with us after they’re done hanging the drapes.

Okay, so I may have exaggerated just a little bit.  But so are our personas.

This all started several weeks ago when I found myself thoroughly enjoying both    WoWS and AH while many of my friends insisted they reeked of disappointment, misguided storytelling and just plain unsympathetic, despicable characters.  Really?  I hadn’t noticed.  Isn’t this sort of the scrappy, exaggerated way Waspy movie characters behave, albeit with less money and more curse words?  No, claimed my Jewish guy friends from upstate New York, southern California and the Midwest.  They’re just awful people in uninvolving movies.   And those Waspy characters you are referring to are usually the villains, not the hero.

Did someone say Wasp?

Did someone say Wasp?

Well, okay.  Still, there is something to be said for seeing a version of you onscreen, even if it is a slightly unpleasant one.  If there is enough humanity and humor in the characterization you can get away with a lot of political incorrectness.  Enough elements of truth can counterbalance harsh generalities about the neighborhood or plot holes that you can drive a Miata through.  In addition, if you give these guys a little bit more of the macho power you craved when you were younger, or even last week, the fantasy is complete.  At least for some of us.

I can’t say I’m particularly proud of two Jewish guys from Queens being portrayed as people who swindled others out of money in order to lift themselves out of the doldrums of their own lower/middle class existences (Note: though if I had a choice I’d take the fictionalized Rosenfeld in American Hustle, who mostly stole from rich bad guys and didn’t kill people or cause them to kill themselves).  But now that Dustin Hoffman and Richard Dreyfuss are no longer leading men and only act sporadically, not to mention the total lack of movie roles for Steve Guttenberg in the last 20 years, you can’t blame me for binging a little on these types of recent and very public inroads. (Note: Yes there is still Jessie Eisenberg, born in Queens and raised in New Jersey – but c’mon, there is just nothing boroughs about him or any of his characters).

I made a movie with Barbra.. does that count?

I made a movie with Barbra.. does that count?

My notesfromachair co-hort Holly Van Buren suggested to me that the emergence of the Jewish Guido might have something to do with our current economic climate and the fantasy of the everyday working class man with the accent becoming victorious.  Not a bad thought.  It’s the boroughs way and certainly is a fine counterpoint to the seemingly omnipotent top 1%.  I mean, it takes a little bit of the crude and in your face in order to cut through all of that upper crust steeliness, right?

Plus, both Wolf and Hustle are period pieces from the seventies and eighties.  Clearly, enough time has passed where rather than championing a Gordon Gekko kind of financial wizard we can indulge in a more in-your-face punk upstart who beats the elite at their own game by any means necessary using the logic gleaned from a tougher life lived.

Still, there seems an even bigger factor – time.  American society may have grown more polarized these days but certainly its people have overall become far less homogenized.  There is ethnicity everywhere – so much so that is unusual for a day to go by on Fox News or right wing radio where the previously dominant White Male patriarchy, particularly in the south and Midwest, don’t wax nostalgic about the good old days and whine about losing their grip on power and the social and moral traditions (Note: one questions what they consider those were) that once made our Great Country great. This and the fact that same country, which less than two centuries ago legally enslaved all of its African American citizens in more than half of its states, has for the last six years had its first African American president presiding over everyone.

Yep.. and still the President.

Yep.. and still the President.

Those factors of time and ethnicity might also be responsible for the emergence of two other crossover major studio films about the African American community this year – 12 Years A Slave and Lee Daniel’s The Butler.  It is certainly no coincidence that as directors and other artists emerge in a position of power – like Steve McQueen and Mr. Daniels – the more chances there are of movies that reflect the history and/or experiences of their particular ethnic groups.  (Note:  Not that they can’t do anything else – both men have worked on “white” films).  It is also no accident that both of these directors have also earned money and acclaim in their recent past that have enabled them to do larger and more mainstream films with African American characters in the leads.  This is just the way it goes as long you can produce massive income with your often larger than life product.  Decades before Spike Lee had a certain degree of power among the major studios until his movies began underperforming at the box-office and the cache he was given by the powers-that-be to make his type of movies began to shrink. (Note: Mr. Lee also came of age at a time where there were far less non-white leads in films than there are today, making his road somewhat tougher).

Interestingly enough, all four aforementioned major films this year – Wolf of Wall Street, American Hustle, 12 Years a Slave and Lee Daniels’ The Butler – are also historical pieces that take place far and very much farther into the past.   There could simply be a certain drama to looking at events from a backwards lens.  Though surely it also provides a special kind of safety that gives the Hollywood community and its studio system a specific type of perfect cover.

the current state of Hollywood

the current state of Hollywood

Which all begs the question – why with all of the many, many male Jewish writers and directors working in the movie industry over the decades – not to mention that the studios themselves were founded by a large group of New York Jewish salesmen – have there statistically been such a lack of Jewish male characters as major studio leads on the big screen. I mean, if the African-American model holds, shouldn’t it follow that….?

Well, I have no provable idea.  But even in accounting for time and some evolution of thought, it is still worth noting that American Hustle’s David O. Russell is half-Jewish while Wolf of Wall Street’s Scorsese is very famously Italian.  So, at least in terms of the Jewish Guido, well — you do the math.

Or, to put my take on the whole thing another way, here is what Woody Allen’s quintessentially non-Guido/very Jewish character of Alvy Singer said when he first met his very ethnic-looking first wife Allison Portchnik (Carol Kane) in the 1977 classic, Annie Hall:

Woody-Allen-and-Carol-Kane-620x310

Alvy: You, you, you’re like New York, Jewish, left-wing, liberal, intellectual, Central Park West, Brandeis University, the socialist summer camps and the father with the Ben Shahn drawings…and the really, y’know, strike-oriented kind of, red diaper…stop me before I make a complete imbecile of myself

Allison: No, that was wonderful. I love being reduced to a cultural stereotype.

Alvy:  Right, I’m a bigot, I know, but for the left.

I have no idea…

With all the know-it-alls in the world, it might be refreshing to once in a while hear someone publicly say, “I have no idea.”  That is, instead of yourself when you’re at some personal or professional impasse.

This is quite different than you or someone else stating it in the plural:  “I have no ideas.”   Meaning, you are convinced you are unproductive, uncreative or on the whole not very smart compared to all of the other “geniuses” working in the entertainment business today, or even yesterday (we’ll get to the past later).

Isn’t that something?  Add just the letter “s” and you totally change the meaning from potentially a good, honest admission of not knowing to a bad, self-destructive and totally fictional one of stupidity and personal self-flagellation.  Clever to state it this way, huh?  Well, that was my idea.

Though I obviously won’t be a network comedy writer any time soon, I did once have the idea that I could be and started my professional writing career in Hollywood (after writing one sensitive dramatic screenplay that got me the attention of a few agents and nothing more). I was writing spec episodes of “Cheers,” “Kate and Allie,” “The Tortellis” and “The Golden Girls.”  I don’t really know why.  But I guess because nothing was happening and I figured, hey, I’m a funny guy, maybe this is what I should really be doing rather than trying to inflict my outdated POV on the powers-that-be, whoever they are.  Anyway, I got a writing partner for the big jokes, had lots of pitch/idea meetings with real shows and eventually was actually sort of promised a writing assignment for an episode of Lucille Ball’s short-lived sitcom comeback “Life With Lucy”.  But the studio and the audience had other ideas, the most prominent of which was the admission of having no idea why that show was on the air in the first place.  Lucy’s comeback was quickly cancelled after several episodes and I lost my patience trying to break into an insanity I clearly didn’t have the stomach, or perhaps the right ability for (I mean, Lucy got cancelled!).

Oy.

Then I had yet another idea that it might be best for me to follow my heart and write the sensitive dramas I had always wanted to write in the first place despite it being the age of either “Die Hard” and/or “The Cosby Show.”  A good idea?  A bad idea?  Well, who was I to ask at the time since I didn’t seem to be having anything but the latter?  However, it turned out to be not just good but an excellent decision, because I would very soon get yet another idea for a script based on my very dysfunctional and sort of sad childhood that I had the notion (neé idea) would at least prove to people (and perhaps myself) that I could, indeed write.  That turned into the best idea yet.  It became not only my first huge sale but a feature film with a bunch of big names at the time and opened the many doors for listeners who now wanted me to talk about past, present and future ideas.   Listeners I never dreamed I would talk to in this or any other lifetime.  I mean, I had no idea….

I bring this up now because it’s the beginning of a new semester for me as a writing professor and I find myself in the privileged seat of listening to countless ideas from many, many young people who, with varying degrees of confidence, are volunteering (or being forced through requirements of a class) to share ideas of their own.   Imagine – you listen and listen in a class and finally there comes the point where you are required to put up or shut up.  Scary?  Abso(fuckin)lutely.  But it shouldn’t be.  You have to expose a bit of yourself or your thought process or your point of view and, whether you like it or not, have to go with your own original idea not only in class but in life – that is if you really want to get anywhere worth going.

Roughly the layout of my classroom...

Saying “I have no ideas” is not an option.  In fact, it’s the one thing that’s frowned upon in my classes and workshops because it’s a lie.  I mean, everyone has an idea.  And many more than one.  The key is – do you have the courage to state it?? (Note: It’s the same type of courage it takes to honestly answer a question with: “I have no idea” because it at least puts you on the path to figuring something out).

An idea is a seedling, a notion or a thought.  It can be inspiring, confusing, derivative, offensive or even just plain odd.  But, and this is the biggie, is only an idea.  If you look at the dictionary definition of the word, as I love to do in times like these, you will see that an IDEA is defined as:

Meaning, who the heck knows what is going to happen with it.  It’s at its core just a notion that has come into existence as a by-product of using your brain.  And unless you are actually brain dead (which means you couldn’t walk, talk, much less take a class of any kind), you have probably thousands of ideas in any given day.

I’m amazed at how creative, unusual or just plain cool even the oddest of my students’ ideas are or could be, even when they are mere thoughts, conceptions or lead balloons that don’t seem to be going over with anyone else.  That’s because I know in my heart of hearts, and through decades of more than a few broken hearts of my own, that today’s lead balloon can easily become tomorrow’s gold standard.  Or could lead us to the road for one.    The question is, how do you convince students (or adults) or the man on the street of this?  And, as one gets older, how do you remember this lesson each time you read any part of your own new or old work?  Or engage in general in life?

The answer, as it often is, is to go back to the truth – in this case,  your (the) definition.  An idea is a thought.  How can it be bad in itself?  And since thoughts are produced by your mind ad infinitum, that’s like saying that one of your sneezes is bad.  How do you quantify a good sneeze? (Doctors, please don’t write in).  Or smile?  Or, as long as we’re choosing random bodily functions, an orgasm?  Re the latter, “My worst one was right on the money,” as Woody Allen once so wisely said.  Amen.

I try to remember this when talking to the students and working on my own ideas.  I also try to remember that it’s not entirely bad, when faced with a new challenge of how to execute one of my or their many thoughts, to state, “I have no idea.” Actually, it’s pretty liberating.  Because if you have no idea then anything you say can’t be mistaken for one and thus absolves you from stupidity, inferiority or a factory of dumb thoughts.  It does, however, open the door to explore something or a series of things that might lead to one or two notions worth listening to.   Contrary to what I was like in my younger years, I try to say this “I have no idea” thing at least once or twice a week, and sometimes more often than that when I’m teaching.  It’s amazing how many doors it opens up – how many random thoughts young (and even older) people can have when you admit to them you are as confused as they might be or feel they are (you mean I’m not the only one?).  It also builds potential bridges because more than a few people imagine that if someone in a position of authority (or friendship) doesn’t know, maybe that one tiny thing they suddenly (or earlier) thought to say might not be so bad either.

(Note: I have to confess that each time I watch the news these days, I long to have at least one person in public life say the “I have no idea” thing and invite others to brainstorm with them).

Martin Scorsese, who has spent a 50-year career in movies, and has had and continues to have an endless supply of ideas, comes to mind right now.

Drinking game alert!

I watched “Hugo” for the second time and did a bit of a favorable turnaround on the film.  On first view I almost gave up on his ideas because the set up of the film was so long.  But on second view, knowing the set up, I was excited about all the ideas I knew were to come because, bottom line, “Hugo” is a film about a forgotten pioneering artist who had endless ideas in uncharted territory of a then very new art – moviemaking. Riffing on the true story of Georges Méliès – and in a fictional world unlike/like our own where a pioneering master of early films had his work destroyed through age, money and lack of appreciation by the business people – “Hugo” wants to shout at the world that ideas and the people who are bold enough to create them are to be valued when everyone has turned their back on anything new in favor of just living an unimaginative life.  Actually, more than valued.  Treasured.  And preserved.

But at one time each idea Méliès, the real or fictional one, had was a notion, a thought, a concept.  Much in the same way as one of our own in 2012.

I suspect it’s because Scorsese is a veteran “idea” and “I have no idea” man of storytelling that he has managed this long a career.  He knows you have to develop countless ideas (with more writers than you can shake a stick at, not that I recommend stick shaking towards my brethren or myself) than movies they make (but usually it’s a 1-10 ratio).  Mr. Scorsese – a name that usually evokes genuflection in film and TV classes – is willing to jump off the net.  And see where it all goes, knowing full well it might, in all reality, go nowhere.  But knowing also that it might, just very might, be his next great, or at least, new, or cool, idea.  As they say in life and in old Hollywood adages:  “You learn from the best.”